A. Aube Designs

This is a blog where people can look at my art work and can see what I am currently doing in the world of art.

New Web Site

So I now have an official website, I hope that all of you will check it out. For some reason you can't find it when you google my name, that will be fixed soon. http://www.annieaube.com

Artist Statement

Art for me is a very tactile experience. It should engage the viewer in a very physical way. Either a physical sensation created by layers of visual texture within the piece or literal texture i.e. rough felt, soft silk, etc. My ideal show would be one where everything was open and allowed to be touched. I like my work to be ambiguous; I want my viewers to come to their own conclusions about what I’m trying to say. I thrive on the chance that is involved in making a piece; the happy-accident is something that I live for. I also use Irony in my work, all of my “blankets” are completely useless, I love that idea that something which has all these perceived connotations is turned completely around thus shedding light on the object and on the perceptions that our culture takes for granted. For me art is a window into those things which go unseen every day (the mundane), or which our culture does not want to see (the taboo).

Resume

  • EDUCATION
  • Bachelors of Arts in Art 2006
  • SHOWS
  • Members Exhibition, IGCA, Jan 1st- 31st 2007
  • 100 x 100 Exhibition, International Gallery of Contemporary Art, Oct. 28th-Nov. 26th 2006
  • No Big Heads, University of Alaska, Nov. 1st– 23rd 2006
  • Stitched Together (solo senior show), Mat-Su College, Oct 10th-18th 2006
  • Palmer Arts Council Pavilion, August 24th-September 4th. 2006
  • Fiber Arts Student Showcase, Mat-Su College, November 2005
  • ORGANIZATIONS
  • Valley Fiber Arts Guild, 2006-2007
  • Palmer Arts Council, 2006-2007
  • International Gallery of Contemporary Art, 2006-2007

Why Fiber Arts?

Some of you might be wondering why I chose something as obscure as Fiber arts, instead of painting or sculpture. One of the things that I like about fiber arts which you cannot get with any other medium, a physical closeness. We as human beings have a close relationship with cloth, so close that we don't even perceive it most of the time. Cloth has been what has allowed us to live in cold climates (like Alaska), and to keep warm at night in the dessert. Every morning we drap ourselves in cloth, and when we go to bed at night. I like the idea of using something so taken for granted. Some of my art work is perceived as being somewhat creepy, this could be because of the closeness people instictually feel towards cloth and the way that I have used it to make them feel some what uncomfortable.

Friday, February 23, 2007

Chinnamasta Embroidery



So this image probably seems pretty intense and it is. If you read the excert below you will understand the imagery more throughly. I read about this particular Hindu goddess and thought she was so cool that I needed to do something which incorporated her in my art work. I also found this picture done during the victorian era of this young girl. I thought that it would be interesting if she had cut off her head like the goddess and was holding it in her hand. The reason that I chose embroidery for the exacution of this piece is because first of all it was a predominate art form in the victorian era, same as the girl. The other is the seeming opposition between the subject matter and the medium of embroidery.



The image of Chinnamasta is a composite one, conveying reality as an amalgamation of sex, death, creation, destruction and regeneration. It is stunning representation of the fact that life, sex, and death are an intrinsic part of the grand unified scheme that makes up the manifested universe. The stark contrasts in this iconographic scenario-the gruesome decapitation, the copulating couple, the drinking of fresh blood, all arranged in a delicate, harmonious pattern - jolt the viewer into an awareness of the truths that life feeds on death, is nourished by death, and necessitates death and that the ultimate destiny of sex is to perpetuate more life, which in turn will decay and die in order to feed more life. As arranged in most renditions of the icon, the lotus and the pairing couple appear to channel a powerful life force into the goddess. The couple enjoying sex convey an insistent, vital urge to the goddess; they seem to pump her with energy. And at the top, like an overflowing fountain, her blood spurts from her severed neck, the life force leaving her, but streaming into the mouths of her devotees (and into her own mouth as well) to nourish and sustain them. The cycle is starkly portrayed: life (the couple making love), death (the decapitated goddess), and nourishment (the flanking yoginis drinking her blood).

Hindu Goddesses:Visine of the Divine Feminine in the Hindu Reigious Tradition (ISBN 81-208-0379-5) by David Kinsley








This is a authentic picture of the goddess Chinnamasta
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